WUTHERING HEIGHTS ON THE SCREEN: EXPLORING THE RELATIONS BETWEEN FILM ADAPTATION AND SUBTITLING Paula Ramalho Almeida, Sara Cerqueira Pascoal, Suzana Noronha Cunha Instituto Superior de Contabilidade e Administração do Porto ISCAP Portugal [email protected]/[email protected]/[email protected] Abstract This essay aims to confront the literary text Wuthering Heights by Emily Brontë with five of its screen adaptations and Portuguese subtitles. Owing to the scope of the study, it will necessarily afford merely a bird’s eye view of the issues and serve as a starting point for further research. Accordingly, the following questions are used as guidelines: What transformations occur in the process of adapting the original text to the screen? Do subtitles update the film dialogues to the target audience’s cultural and linguistic context? Are subtitles influenced more by oral speech than by written literary discourse? Shouldn’t subtitles in fact reflect the poetic function prevalent in screen adaptations of literary texts? Rather than attempt to answer these questions, we focus on the objects as phenomena. Our interdisciplinary undertaking clearly involves a semio-pragmatic stance, at this stage trying to avoid theoretical backdrops that may affect our apprehension of the objects as to their qualities, singularities, and conventional traits, based on Lucia Santaella’s interpretation of Charles S. Peirce’s phaneroscopy. From an empirical standpoint, we gather features and describe peculiarities, under the presumption that there are substrata in subtitling that point or should point to the literary source text, albeit through the mediation of a film script and a particular cinematic style. 216 polissema 11 2011 Therefore, we consider how the subtitling process may be influenced by the literary intertext, the idiosyncrasies of a particular film adaptation, as well as the socio-cultural context of the subtitler and target audience. First, we isolate one of the novel’s most poignant scenes – ‘I am Heathcliff’ – taking into account its symbolic play and significance in relation to character and plot construction. Secondly, we study American, English, French, and Mexican adaptations of the excerpt into film in terms of intersemiotic transformations. Then we analyze differences between the film dialogues and their Portuguese subtitles. Keywords: Screen translation, film adaptation, subtitling Subtitles are only the most visible and charged markers of the way in which films engage, pressing matters of difference, otherness, and translation. Atom Egyoyan Introduction By confronting film adaptation with subtitling, we aim to see not only the text behind the image but the text and image behind the subtitles. What transformations occur in the process of adapting, or ‘transadapting’ (Gambier 2003), the original text to the screen? Do subtitles update the film dialogues to the target audience’s cultural and linguistic context? Are subtitles influenced more by oral speech than by written literary discourse? Shouldn’t subtitles in fact reflect the polissema 11 2011 217 poetic function prevalent in screen adaptations of literary texts? Although these issues are the backdrop of this study, they function as guidelines instead of as questions to be answered. Using these questions as guidelines, we have decided on an approach that includes the comparison and analysis of five different adaptations of the 19th century novel Wuthering Heights by Emily Brontë: William Wyler’s Wuthering Heights (1939), Luis Buñuel’s Abismos de Pasión (1953), Jacques Rivette’s Hurlevent (1985), Robert Fuest’s Wuthering Heights, and Peter Kosminsky’s Emily Brontë’s Wuthering Heights (1992). In order to narrow our field of analysis, we have chosen for the purpose of this study an excerpt of the novel that we found to be representative of its literary and symbolic potential, and which is seen as contextually significant in terms of plot. The excerpt we will focus on is taken from chapter 9 of the novel, namely, the scene here onwards referred to as “I am Heathcliff”. Since the film adaptations present particular features, each version is read and dealt with from different perspectives. Though it might seem a futile task, if not an impossible one, to determine the extent to which an adaptation of a literary text might influence subtitles, we believe our hypothesis might nonetheless shed some light on a fundamental issue screen translation studies must soon face, lest it should stop growing and evolving as a scientific discipline. This issue pertains directly to the problem of intersemiotic translation and verbal translation and how these two modes must somehow meet. We are all aware that a subtitle is intimately connected to the image it is written on, but it isn’t often that we broach this connection by going directly to its source: the relation between the film endproduct, script/film dialogues and, in the case of screen adaptation and transadaptation, the literary text it was based on. Owing to the broad scope of this study, our methodological approach is clearly experimental and empirical, focusing on the object and on peeling away its 218 polissema 11 2011 layers1, attempting to apprehend the objects as regards their qualities, singularities, and conventional traits, based on Lucia Santaella’s interpretation of Charles S. Peirce’s phaneroscopy and sign theory. Preceded by a concise introduction to Emily Brontë’s Wuthering Heights, the second section of this essay will reflect on intersemiotic translation or transposition as defined by Jakobson (1979: 79) as it relates to the nature of visual signs, and we will attempt to illustrate how each of the film versions beholds the original literary text2. Following a brief overview of Portuguese subtitling standards, the last section will concern the subtitles in terms of transformations as brought on by linguistic and extra-linguistic factors. 1. Emily Brontë’s Wuthering Heights Wuthering Heights, a novel published for the first time in 1847, was soon to be distinguished by reviews emphasising the strength and originality of its author in contrast with the book’s sombre and violent quality, and its apparent disrespect for social and moral conventions3. During the 20th century, when moral considerations were no longer a criteria in literary review, the novel was the object of diversified analysis and criticism that interpreted it from different viewpoints: for some the novel performs a social function and Heathcliff’s anger and rebellion is contextualized within the workers Marxist rebellion against capitalism (Kettle, 1971: 200-16), for others the true theme of the book – the physical union of Cathy and Heathcliff – is always disguised (Moser, 1971: 181-98). Then again, others consider the hero couple represents a woman’s feminine and masculine halves (Gilbert, 1979: 248-308), or 1For the same reason, we purposefully left out theoretical considerations and major works in the field. 2 Audiovisual transcription was not needed at this preliminary stage. For a complete approach on transcription, see Anthony Baldry and Paul Thibault, Multimodal Transcription and Text Analysis (London: Equinox, 2006). 3 See Lilia Melani, http://academic.brooklyn.cuny.edu/english/melani/novel_19c/wuthering/index.html polissema 11 2011 219 that the main characters are the incarnations of Good and Evil (Bataille, 1957: 11- 31) or, as in Lord Cecil’s famous lines, of the “principles of storm” and the “principles of calm”(1975: 136-182). Interestingly enough, the basic elements of the plot are quite common-place and straightforward: an abandoned orphan – Heathcliff -, adopted by a country gentleman, falls deeply in love with his adopted sister – Cathy Earnshaw-, engages in conflict with her brother and later with the girl’s husband – Edgar Linton, son of a rich landowner –, goes away when she leaves him for his rival, returns rich and set on exercising revenge on everyone that had caused him trouble, does so, watches his love’s death, continues his revenge on the second generation of Earnshaws and Lintons, until giving up life to reunite with his dead love’s ghost. Still, the intertwined narrative patterns, the intensity and mysterious nature of Heathcliff and Cathy’s kinship, the symbols, the dualities and, in the words of editor David Daiches, Emily Brontë’s “domiciling of the monstrous in the ordinary rhythms of life and work” (Brontë, 1986: 28) have turned the novel into an acknowledged classic. The scene analyzed was taken from chapter 9, and at a critical point in the narrative when Cathy agrees to marry Edgar and abandon the Heights. Although her intention is to maintain her bond with Heathcliff, while at the same time freeing herself and her love from her brother’s tyranny, she fails to do so because Heathcliff overhears her confiding Nelly her secrets just up to the part where she says it would degrade her to marry him. He then leaves, she gets sick and, with him out of the way, Cathy is taken to Thrushcross Grange. 220 polissema 11 2011 2. Brontë on Film: Semiosis and intersemiotic translation4 Cinema, like any other art, because art ultimately has to do with choice, is the art of the ellipsis (2001: 84). And we may add: all the more so when speaking of film adaptations. A novel like Wuthering Heights, if translated onto the screen in its entirety, would occupy multiple reels of film and take more than a few days to watch. On the other hand, it would also make for a bad movie – and an unsaleable one. To adapt a novel to the screen does not mean to simply transform literary images into visual ones. Verbal language involves both the semiotic and semantic modes, for signs are recognized and the enunciation is understood, while music (as well as the plastic arts) only involves the semantic mode (Benveniste 1981: 64-65). Both cinematic and verbal language partake of both modes, and this reveals the great potential of film.